plate no. 6160
Duchess Countess of Benavente
Francisco Goya, 1785
recreation guide
Francisco Goya’s 'Duchess Countess of Benavente' (1785) is a portrait executed in oil on canvas, a medium that offers greater flexibility, richer color density, and a wider tonal range than earlier techniques like egg tempera (Source 4). As a work from the late 18th century, it likely adheres to the conventions of portrait painting intended to memorialize the sitter’s appearance and status, serving as a record for the patron (Source 6). While the specific visual details of the Duchess’s attire or expression are not described in the provided sources, the recreation should focus on the technical mastery of oil painting, particularly the handling of light and color contrast. The artist’s practice during this period would have involved a sound craftsmanship of the medium, ensuring that the 'alphabet of art'—the fundamental handling of paint and tone—was securely established before attempting complex effects (Source 1).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil or walnut oil | Drying oil binder for pigments, providing flexibility and rich color | Refined linseed oil or walnut oil |
| Turpentine | Thinner for initial layers and cleaning brushes | Odorless mineral spirits or pure gum turpentine |
| Canvas | Support for the oil paint | Linen canvas, primed with gesso |
| Pigments: White Lead, Ultramarine, Ochres, Vermilion, Blacks | Core palette for flesh tones, drapery, and shadows. White lead and ultramarine were noted by Reynolds as foundational for initial paintings (Source 7). Earths like ochres provide fixed, covering tones (Source 8). | Titanium white (for safety), Ultramarine blue, Yellow/Red Ochre, Cadmium Red or Vermilion, Ivory Black |
| Varnish (optional for glazing) | To mix with oil for transparent glazes, as practiced by old masters (Source 7) | Dammar varnish or synthetic resin varnish |
preparation
surface prep
The canvas should be prepared with a ground that allows for the 'sound craftsman' approach to oil painting. While specific priming methods for Goya in 1785 are not detailed in the sources, the general practice of the time involved preparing a surface that could support layers of oil paint. The artist must ensure the surface is stable to allow for the 'greater flexibility' and 'use of layers' inherent to oil painting (Source 4).
underdrawing
The sources do not specify Goya’s underdrawing technique for this specific portrait. However, the practice of oil painting requires the artist to be a 'sound craftsman' who knows the capacities of the medium (Source 1). It is likely that a preliminary sketch was made to establish the likeness, as portrait painting aims to achieve a recognizable record of the sitter’s appearance (Source 6).
underpainting
A grisaille (monochrome underpainting) is recommended, consistent with the method described in Source 7. The artist should paint the initial layers using black, ultramarine, and white, possibly with oil of copavia as a medium, to establish the tonal structure. This step involves 'mentally extracting the red and yellow colours' to focus on form and light (Source 7). This technique allows for the subsequent application of color through glazing and scumbling.
color palette
Flesh Tones
White lead, red ochre, yellow ochre, vermilion, and black for shadows
General use in this artist's palette for skin. The sources note that flesh colors are fixed by the model in portraiture (Source 3).
Shadows and Neutrals
Black, ultramarine, and white
Initial underpainting and shadow areas. Reynolds noted using these for the first and second paintings (Source 7).
Drapery and Background
Earth tones (ochres, umbers), ultramarine, and vermilion
The painter has a choice of draperies and background colors, which are not inherent to the model but chosen by the artist (Source 3). Earths are recommended for their covering power and ease of drying (Source 8).
composition
The sources do not describe the specific composition of 'Duchess Countess of Benavente.' However, portrait painting generally aims to represent a specific human subject with a recognizable likeness (Source 6). The artist should focus on the 'modifications of the light on the model' and harmonize the colors inherent to the objects produced (Source 2). The composition should avoid 'smallness' and instead focus on 'broad masses' and 'great effects,' allowing smaller details to result from these larger contrasts (Source 1, Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the likeness of the sitter on the prepared canvas. Focus on the general proportions and pose, ensuring the likeness is recognizable as per the goals of portrait painting.
Tip — Ensure the drawing is accurate to avoid 'being too much tied down to your outline' later (Source 1).
Preparatory sketch
underpainting
step 02
Apply a grisaille underpainting using black, ultramarine, and white. Establish the tonal values of the face, hands, and drapery. This step extracts the red and yellow colors to focus on form (Source 7).
Tip — Allow this layer to dry completely before proceeding. This method was practiced by old masters and helps in establishing the 'alphabet of our art' (Source 1, Source 7).
Grisaille
first pass
step 03
Begin applying color using glazing and scumbling techniques. Glaze transparent coats of color over the dry grisaille, particularly for the red and yellow tones of the flesh and drapery (Source 7).
Tip — Use oil or a mix of varnish and oil for the glazes. This allows for the 'richer and denser color' characteristic of oil painting (Source 4, Source 7).
Glazing
refining
step 04
Refine the colors by considering the law of simultaneous contrast. Adjust tones based on the juxtaposition of colors, ensuring that the lightest tones are lowered and darkest heightened where appropriate (Source 2, Source 3).
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast. Check colors against neutral backgrounds to avoid hue shifts (Source 2, Source 5).
Simultaneous Contrast
finishing
step 05
Complete the portrait by adding final details and ensuring the harmony of the composition. Focus on the 'modifications of light' and the inherent colors of the objects (Source 2).
Tip — Avoid 'smallness' by maintaining broad masses. Let small details result from the great effects of contrast (Source 1, Source 3).
Final Glazing/Scumbling
critical techniques
Glazing and Scumbling
Used to apply color over a dry monochrome underpainting. Glazing involves transparent coats, while scumbling is semi-opaque. This method was common among old masters and allows for rich color effects (Source 7).
Simultaneous Contrast
Understanding that adjacent colors affect each other's appearance. The artist must perceive and imitate these modifications to achieve accurate color representation (Source 2).
Chiaroscuro
Produced by the juxtaposition of different tones, creating a gradation of light. This is essential for modeling form in portraiture (Source 3).
common pitfalls
- →Being 'too much tied down to your outline' or 'inclined to over-model,' which can result in a stiff appearance (Source 1).
- →Ignoring the law of simultaneous contrast, leading to inaccurate color perception and application (Source 2).
- →Adding black to darken colors, which can cause unwanted hue shifts toward green or blue. Instead, use complementary colors to neutralize and darken (Source 5).
- →Attempting to paint small details before establishing broad masses and great effects (Source 1, Source 3).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific visual details of the Duchess's clothing, jewelry, and facial expression are not described in the sources.
- ·Goya's specific palette choices for this 1785 portrait are not detailed; the guide relies on general 18th-century practices and Reynolds' methods.
- ·The exact underdrawing technique used by Goya for this work is unknown.
- ·The specific background and setting of the portrait are not described.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- ON COPYING — applied to General advice on craftsmanship, avoiding smallness, and focusing on broad masses (Source 1).
- COLOURING A MONOCHROME — applied to Grisaille underpainting and glazing techniques (Source 7).
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and color modifications (Source 2).
- 6, 324 — applied to Chiaroscuro, gradation of light, and choice of drapery colors (Source 3).
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earths and traditional pigments (Source 8).
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 1 — applied to Properties of oil paint, flexibility, and layering (Source 4).
Wikipedia: Color theory↗
- part 6 — applied to Color mixing pitfalls, such as hue shifts when adding black (Source 5).
Wikipedia: Portrait painting↗
- part 1 — applied to Goals of portrait painting and likeness (Source 6).
Read more about the corpus on the sources page and how the guides are built on the methods page.
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